HENSCHEL QUARTET

German focus

he members of the Henschel Quartet are at Whether it’s Mendelssohn, Beethoven or violist Monika Henschel-Schwind’s Webern, this young German quartet puts home in Munich. They often its own personal stamp on its recordings and rehearse in a studio at the back of a century-old bookstore in the Schwabing performances, as UWE FRIEDRICH discovers district of the city, but today they’re working on their new programme of Schulhoff’s Second Quartet and Berg’s op.3 at her house. At the moment, though, they are sharing the culinary chores for lunch, chopping salmon for a pasta dish, preparing apple strudel and making coffee. A is like a marriage. Four people make a commitment to spend a major part of their lives together, share the responsibility of making important decisions, and enjoy life’s ups and downs in each other’s company. It took the Munich-based Henschels – violinists Christoph and Markus, who are twins, and older sister Monika – some time before they met ‘Mr Right’, and it was only after a stressful period of trial and error that they signed up Mathias Beyer-Karlshøj as the cellist and fourth member of the ‘family’. But the Henschel Quartet has now enjoyed 13 years with the same line-up, and in that time it has become a household name on the international string scene, with a highly acclaimed discography, its own annual summer chamber music festival in the German town of Seligenstadt since 1997, and regular concerts around the world, including its 11th tour of Japan and its return to the Proms at Cadogan Hall in London later this year. The players’ 2001 concert at the was called ‘a highlight of my concert-going year’ by Paul Cutts (The Strad, March 2002), who also said that he had rarely heard the Debussy G minor Quartet ‘portrayed with such passionate commitment, insight and artistry’. Describing a 2005 release, Tully Potter wrote, ‘I can still remember the first time I heard Beethoven’s op.18 no.6 in concert... and the biggest compliment I can pay the Henschel Quartet is that its performance took me back to that’ (The Strad, November 2005). Inspired by such groups as the Amadeus and Alban Berg quartets, and following successfully and imaginatively in their footsteps, there can be little doubt that the Henschel Quartet will in turn encourage a new generation of chamber musicians.

24 THE STRAD APRIL 2007 MARCO BORGGREVE nschel Keeping the music alive (from left to right): Christoph Henschel, Mathias Beyer-Karlshøj, Monika Henschel-Schwind and Markus He Mathias Beyer-Karlshøj, Henschel, Christoph left right): (from to alive Keeping the music Growing up in Sindelfingen, near Henschel-Schwind. ‘A lot went wrong and Stuttgart, the Henschel siblings played in the end we came very close to disbanding in a quartet with a cellist – who is now because it wasn’t working any more.’ a member of the Bamberg Symphony Two years after first being considered, Orchestra – from the neighbouring village, Beyer-Karlshøj was finally asked to join. and although theirs was a very high amateur ‘We thought, we’ll give this one a last try,’ level, becoming a full-time quartet was says leader Christoph Henschel, ‘and if never a great ambition. The Henschels this doesn’t work out, we’ll just forget therefore all continued their musical about the idea.’ But one year later, in studies, with Felix Andrievsky in Tel Aviv, 1995, the Henschel Quartet won prizes at Germany and at London’s Royal College competitions in Evian, Banff and Salzburg, of Music, and aimed to concentrate on and later the gold medal at the 1996 their individual instruments. However, Osaka International String Competition. a London summer course in 1989 with The whole experience – by this stage they the was to change this. had tried out 30 or so cellists – taught the The Henschel siblings realised how rich Henschels to understand that the four and wonderful the quartet repertoire is, members of a quartet need to share a and having enjoyed playing the very best compatible approach and similar ideas. chamber music, took the decision to form One part of the music making process a quartet. ‘We didn’t even have to discuss that they have very much in common is it; it was perfectly obvious that this was their passion for, in Henschel-Schwind’s what we wanted to do,’ Henschel-Schwind words, ‘finding the truth behind the remembers about their first proper written music’. During the quartet’s encounter with the fascinating sound of residency at the UK’s Aldeburgh Festival a professional quartet. in 1995 the players took the opportunity

Beyer-Karlshøj, who grew up in Essen, to examine the manuscript of Britten’s MARCO BORGGREVE Germany, and later in Denmark where Third String Quartet. ‘It was very touching The quartet studies manuscripts ‘to find the truth behind the music’ he is still based (although he has a flat in to read the handwriting of the old and sick Munich), had a comparable encounter. man – unsteady but absolutely precise,’ even the most scrupulous edition is,’ says In his case it was at a course with the recalls the violist. ‘Indeed, we even Beyer-Karlshøj. ‘How do you deal with

Vogler Quartet: ‘I sat on the floor, listening discovered that some mistakes had crept Beethoven’s metronome markings? You PHOTOS to their performance of the late Beethoven into the printed edition.’ can’t take them seriously. According to his quartets and was immersed in this new Franz Beyer, Beyer-Karlshøj’s secretary and biographer Anton Schindler, JEHLE HUGO world.’ While a student at the Royal grand-father and a former professor he dismissed the metronome completely /

Danish Academy of Music in Copenhagen of and chamber music at in his late works, arguing that the gifted QUARTET HENSCHEL with Torleif Thedéen, he had wanted to the Hochschule für Musik in Munich, musician doesn’t need them and the play in a quartet but his contemporaries has been involved in the preparation of a musician without talent can’t be helped by lacked enthusiasm for the medium. new edition of Beethoven’s late string them anyway.’ Similarly, prior to recording A professor introduced the Henschels quartets, and because the quartet loves the complete Mendelssohn quartets – to Beyer-Karlshøj. However, preference to play them, he has kept the players was given to another cellist, which nearly informed about the latest developments Below (from left to right): Christoph and Markus, both aged 3, and four-year-old Monika; conducting a led to the demise of the quartet. ‘We chose in the editing of the music. ‘Through my Stuttgart children’s orchestra, including the Henschel siblings, our last cellist too quickly,’ explains grandfather we also know how uncertain in 1978; Monika, 16, with her teacher Felix Andrievsky

APRIL 2007 THE STRAD 27 TILOHSS OTTI / ESHLQUARTET HENSCHEL HENSCHEL QUARTET / HENSCHEL QUARTET / FINTAN DAMGAARD HUGO JEHLE

Above (from left to right): with Christoph, both bought by their father at a time the highly regarded German composer. Matthias and Franz Beyer in Munich in 1995; the Henschel in performance; , cellist from the Amadeus Quartet, when they were still affordable by private However, the quartet knows that playing chess with Matthias on a train in Japan, 1995 musicians. Henschel-Schwind plays cutting-edge contemporary music can be a Gasparo da Salò viola, while Beyer-Karlshøj extremely difficult to sell, not only because which were released as a three-CD set in plays a Hjorth made 50 years ago of the musical challenges for the average 2005 – the Henschel studied the music ‘because I love the tone, and it’s not so listener but also because it is comparatively meticulously and came to the conclusion sensitive to weather changes, which is expensive for the promoter who, for that the dynamic markings were not important for touring.’ example, has to pay performance rights. necessarily to be trusted. ‘You are not doing Like many other new German quartets, Audiences often want to hear the him a favour if you do exactly what is the Henschel works on presenting a more masterpieces they know again and again. written. Twenty fortissimo bars in a row do modern image. Still, the cellist says that ‘They would probably be happy with a not please anyone,’ says Christoph Henschel. the group sees itself ‘very much in the Beethoven “Rasumovsky”, Schubert’s Beyer-Karlshøj believes that in taking German string quartet tradition, counting “Death and the Maiden” and Dvorˇák’s an overly academic view, editors often as mentors the Alban Berg and Melos “American”, but this would mean serving neglect to provide adequate editions for quartets, which are known for their caviar, followed by caviar and caviar,’ musicians to play, and in the end the premiere performances’. Beethoven’s says Henschel-Schwind. ‘And even performers must find their own way. Decisions change widely, though, from concert to concert, adds Markus Henschel, We aren’t four dusty old guys caressing their and the players have to be very alert and tuned in to the decisions of each other. instruments with reverent seriousness ‘But we are happy to take this risk as MATHIAS BEYER-KARLSHØJ, CELLO it is the only way to keep the music alive,’ he says. ‘Our interpretation should live on and develop, change and grow.’ This sense of a living interpretation takes place in the communication with audiences, which varies between venues. ‘You go with what op.127 in E flat major is central to though caviar is great, one doesn’t really comes to your mind at the spur of the the quartet’s repertoire, and Mozart appreciate it if one eats it all the time.’ But moment,’ says Henschel-Schwind. She and Haydn are its gods. ‘We are the the violist doesn’t want to give up: ‘We prefers halls with a dry acoustic because Classical–Romantic types,’ laughs fight wherever we can for modern music she doesn’t have to hold back, whereas with Beyer-Karlshøj, and indeed, this is the and also for unusual repertoire. Once we stronger acoustics she feels she has to be music on which the Henschel Quartet has wanted to play a piece by Jean Françaix more careful so as to keep the details audible. founded its reputation. But the players and the promoter didn’t want us to, even ‘We want to express something lively love the Janácˇek quartets for their emotional though he didn’t know the piece at all. We and important, something that is very dear depth and are very much looking forward played it and afterwards he admitted that to us,’ says Beyer-Karlshøj. ‘We aren’t four to the world premiere of Manfred Trojahn’s he loved it. It is important for audiences to dusty old guys caressing their instruments quartet Lettera amorosa, which they will know the whole range of the repertoire so with reverent seriousness.’ Nevertheless, the perform at the official reopening of the that they can decide what they really love.’ instruments they play serve to emphasise Herzogin Anna Amalia Bibliothek in One group, though, that may not be their seriousness. The twins both play Weimar in October. In fact, the group is so too satisfied with ‘caviar’ is the younger Stradivaris: Markus has a 1727 violin, taken by the new work that it is thinking listener, who Beyer-Karlshøj believes is no and Christoph the 1721 ‘Cobbett’, about recording the complete quartets of longer accustomed to larger classical

APRIL 2007 THE STRAD 29 AC BORGGREVE MARCO new works, subsidises concert tickets for young people and runs courses. The Henschel also visits schools, bringing classical music to pupils who hardly ever encounter it first-hand. In this context ºthe players enjoy huge success with contemporary music, says Markus Henschel, ‘because the children have no preconceived ideas about repertoire and are amazingly open to new experiences. They are refreshingly unspoilt and appreciate everything that is seriously offered and explained to them.’ Difficulties can arise if school groups are too large, The Henschel plays more than just the classics: ‘One doesn’t appreciate caviar if one eats it all the time’ though: in Japan the quartet played for 300 pupils who sat in complete silence works: ‘They are spoilt by Classic FM. version for posterity – and in the process in the hall. ‘We couldn’t stop suspecting They want nice tunes that don’t last too leave little room for the incidents and that the children were being forced to sit long. An audience like this is rather accidents that bring every concert to life. there and didn’t dare to say anything,’ says shocked by Beethoven’s Grosse Fuge, By choice the Henschel Quartet makes its Beyer-Karlshøj. And the quartet’s support whereas they love Webern’s miniatures.’ recordings at the Bavarian public radio station for young people doesn’t stop there. For The challenge for the quartet therefore is Bayerischer Rundfunk – only its 2004 disc the past decade it has donated one per cent to attract their attention: ‘They are open to of lieder with Magdalena Kozˇená for of its income to children in Bogota through new experiences and a thrilling performance Deutsche Grammophon was not made there SOS-Ki˚nderdörfer (SOS Children’s can still excite those who know nothing of – and over time it has developed a trusting Villages), an international organisation sonata form,’ says the cellist. relationship with the sound engineers. The which helps neglected children, orphans The potential is there. The number players still have concerns about capturing and disadvantaged families. The quartet of students choosing to study violin at the essence of live performances on disc, members became official ambassadors the Musikschule Vaterstetten near though. They embarked on the recording of of the charity in 2006, and they continue the Henschel Quartet’s Munich base, quartets by Beethoven, Mendelssohn and to display brochures about the charity for example, has soared during the past Ginastera with the aim of doing them in at its concerts and play benefits. few years, and new chamber music series takes that were as long as possible, reducing What does it mean to play in a quartet? are evolving throughout Germany, many the need for too many edits. ‘We find it The Henschel Quartet is exploring that over-subscribed and with waiting lists rather frustrating to see, or rather to hear, very question with a festival of concerts, for tickets. Christoph Henschel points out how little of a concert performance can be workshops and talks that is likely to take that in Poland, where chamber music is preserved on disc and how the approach place in Germany in 2008 and which will fashionable, youngsters flock to their changes during the recording process in also involve conceptual artist Jai Young Park, concerts. Henschel-Schwind is a bit more the studio,’ says Beyer-Karlshøj. composer and clarinettist Jörg Widmann circumspect. ‘We have to let our audience Christoph Henschel, for instance, is still and photographer Wolfgang Wesener. come in their own time,’ she says. ‘The not happy that the first violin is not As well as examining notions of space, average chamber music lover just isn’t dominant in the quartet’s Mendelssohn Kammer.Chamber.Camera. will ask: young. For some years they are busy with recordings, although the other players like how do the four individuals within their young families and careers. When the balance. the ensemble form a new, non-hierarchical they are about 40 years of age, they will Meanwhile, the Friends of the Henschel individual? Perhaps it will further enlighten discover symphony concerts, the opera – Quartet for the Support of Chamber Music, the players as to how their musical and chamber music.’ a trust set up by the quartet, commissions marriage functions. One point the Henschel Quartet does agree on is that presenting a personal view WIN THE NEW HENSCHEL QUARTET CD of music is key to winning a new public. Beyer-Karlshøj recently re-listened to WE HAVE TEN COPIES OF THE HENSCHEL QUARTET’S old 78s of Kreisler and Fritz Busch: LATEST CD, OF BEETHOVEN’S STRING QUARTETS OP.18 ‘Technically, the playing isn’t flawless NO.6 AND OP.127 (ARTE NOVA CLASSICS), TO GIVE AWAY. and the aesthetic choices don’t always For a chance to win one, send an email or postcard correspond to our modern tastes, but these marked ‘Henschel’, with your name, address and telephone recordings always show an artistic number to [email protected] or to personality making his own choice.’ the address on page 3. The first ten entries picked out of the hat will He feels that nowadays recording artists each receive a copy of the CD. Closing date: 31 May 2007. strive to record a ‘true’ and ‘lasting’

30 THE STRAD APRIL 2007